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Interiors (1978) Poster

(1978)

Trivia

The film features credits in plain typeface with white fonts on black background - something which is a trademark of Woody Allen's films.
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The role of Eve was written by Woody Allen with Ingrid Bergman in mind. He offered her the role, but she regretfully declined, as she was already committed to shoot Autumn Sonata (1978) in Norway with Ingmar Bergman. The part went to Geraldine Page instead. Both she and Bergman were nominated for those films for Academy Awards and Golden Globe but lost to Jane Fonda for Coming Home (1978).
First serious dramatic film of Woody Allen and as such Allen's first film which was not a comedy. Woody Allen was known for comedy, and wanted to break the mold by having no humor at all in this picture. At one point the family is gathered around the table laughing at a joke which Arthur has just told, but we never hear the joke.
This is the first film directed by Woody Allen in which he does not also appear as an actor.
The picture was inspired by and was modeled on the films of Swedish director Ingmar Bergman, particularly Cries & Whispers (1972).
It was Diane Keaton who suggested the film's "Interiors" title to Woody Allen.
The film's editor Ralph Rosenblum is quoted as saying of this movie in Eric Lax's book "Woody Allen: A Biography" (1991): "Even before he made a movie, he had that Bergmanesque streak. He was going to make funny movies and pull the rug at the very end. I wasn't shocked by the original end of Take the Money and Run (1969) (where Virgil is machine-gunned), but I thought it was stupid. But that's something he has carried through all his movies and he will finish his life making serious movies. He says that comedy writers sit at the children's table and he's absolutely right about that. He wants to be remembered as a serious writer, a serious filmmaker. He managed to rescue Interiors, much to his credit. He was against the wall. I think he was afraid. He was testy, he was slightly short-tempered. He was fearful. He thought he had a real bomb. But he managed to pull it out with his own work. The day the reviews came out, he said to me, 'Well, we pulled this one out by the short hairs, didn't we?'."
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Featuring "Three Sisters" as central characters, this film was inspired by the work of playwright Anton Chekhov.
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Final film as a costume designer for future cinema movie director Joel Schumacher.
This is the first of four film collaborations between Woody Allen and Sam Waterston, the other three being Hannah and Her Sisters (1986), September (1987) and Crimes and Misdemeanors (1989).
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According to Eric Lax's book "Woody Allen: A Biography" (1991), Woody Allen once said of this film: "Take the last speech in the Russian Uncle Vanya [by Anton Chekhov]. It's extremely poetical, and nobody talks like that, really. Yet that's how I was trying to write in those dramas. After I saw it, with Diane Keaton, it became a very important film in my life. But even among all the people I know in the film business - the directors and actors and New Yorkers - nobody saw it".
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Around the time of the movie's first release, Woody Allen said: "I always wanted to see if I had any flair for serious drama. Finally, I had the nerve to try".
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The film was an inspiration for band Manchester Orchestra's song "Alice and Interiors". It is included on their album "I'm Like a Virgin Losing a Child". Moreover, The Death Cab for Cutie song "Death of an Interior Decorator" is based on the storyline of this film.
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The picture has no music score except for brief excerpts of background music.
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While watching the movie with a friend, of this film, Woody Allen apparently once said words to the effect of: "It's always been my fear. I think I'm writing Long Day's Journey into Night and it turns into Edge of Night".
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Film debut of Mary Beth Hurt.
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Apparently, after the success of Annie Hall (1977), which had been Woody Allen's previous movie, United Artists executives told Allen's producers, Charles H. Joffe and Jack Rollins, to give Allen a message. That was: "From now on, make whatever you want".
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One of eight cinema movie collaborations of Woody Allen and actress Diane Keaton, Allen co-starring in six of them and directing seven of them.
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The movie is considered to be inspired by and modeled on the works of writer Anton Chekhov.
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Reportedly, Woody Allen was reluctant to discuss the movie's story during production of the picture.
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This was the first film that Woody Allen directed after his Best Picture Academy Award winning film Annie Hall (1977) which won four Oscars including Best Director and Original Screenplay (both for Allen) and Best Actress for Diane Keaton. The film was also the next that Allen and Keaton collaborated on after Annie Hall (1977).
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This was Woody Allen's only color film after Annie Hall (1977) for about four years until A Midsummer Night's Sex Comedy (1982). All the others were in black-and-white, both of them, Manhattan (1979) and Stardust Memories (1980)), were in B&W.
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The film was nominated for five Academy Awards including Best Actress (Geraldine Page), Best Supporting Actress (Maureen Stapleton), Best Art Direction, and for Woody Allen, both Best Original Screenplay and Best Director, but the picture failed to win any Oscars .
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The later Woody Allen film September (1987) has been likened to this movie.
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This is the only Woody Allen directed film where Allen does not co-star and Diane Keaton has a major role. In Radio Days (1987), where Allen does not act either, Keaton has a minor part.
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The eighth feature film directed by Woody Allen.
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The film cast includes three Oscar winners: Diane Keaton, Geraldine Page and Maureen Stapleton; and one Oscar nominee: Sam Waterston.
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